86-B18659 
ND813.T4  A4  1915 
M.  Knoedler  & Co. 

Loan  exhibition  of  paintings 
by  El  Greco  and  Goya  for  the 
benefit  of  the  American 
Women  War  Relief  Fund  and 
the  Belgian  Reli 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


CATALOGUE 


Loan  Exhibition 

of 

Paintings  by 
El  Greco  and  Goya 

FOR  THE  BENEFIT  OF  THE  AMERICAN 
WOMEN  WAR  RELIEF  FUND  AND  THE 
BELGIAN  RELIEF  FUND. 


NT) 

g/3 

C i 

On  Exhibition  at  the  Galleries  of 

M.  XNOEDLER  & COMPANY 
556-558  Fifth  Avenue 

Between  45th  and  46th  Streets 

New  York 

on  view  until  January  23rd  inclusive 

1915 


The  J.  PAUL  GETTY  MUSEUM  LIBRARY 


FOREWO  RD 


GRECO  AND  GOYA. 

ETWEEN  two  of  the  towering 
heights  of  Spanish  art,  Greco  and 
Goya,  there  lies  not  only  the  space 
of  two  centuries,  but  more  partic- 
ularly that  bottomless  chasm 
which  separates  mysticism  from 
realism.  Intellectually,  these  two 
masters  of  the  palette  may  well  be 
regarded  as  diametrically  opposed, — and  between  them 
life  spreads  its  joys  and  its  sorrows  in  the  most  glow- 
ing of  colors  and  the  most  oppressive  of  shadows. 

Leaving  his  native  home,  the  Isle  of  Crete, 
Domenico  Theotocapuli  (“El  Greco”)  first  sojourned 
in  Rome  and  Parma  but  finally  came  to  Spain  where 
he  settled  in  Toledo.  The  ancient  and  timeworn  capi- 
tal, partly  encircled  by  the  roaring  Tagus,  was  perme- 
ated with  that  atmosphere  in  which  his  brooding  spirit 
and  restless  mysticism  developed  to  its  highest  perfec- 
tion. In  his  palatial  home,  perched  high  on  the  moun- 
tain’s side,  this  cultured  man  delved  into  the  depths  of 
Greek  and  Roman  literature,  and  doubtless  his  slender 
fingers  often  unrolled  musty  parchments  or  unclasped 
huge  tomes  which  were  harbored  in  church  or  mon- 
astery. It  was  not  long  before  El  Greco’s  home  be- 
came the  intellectual  centre  of  Toledo.  Church  digni- 
taries, cavaliers  and  elegant  ladies  paid  him  homage, 
but  without  a doubt  it  was  the  esthetic  rather  than  the 
ecclesiast  who  understood  and  admired  his  genius. 

In  his  religious  pictures,  and  these  constitute  the 

3 


EL 


bulk  of  the  200  or  so  known  works  of  Greco,  he  has 
striven  towards  dematerialization.  Vision  and  ecstacy 
were  the  miraculous  fountains  from  which  he  poured 
forth  his  masterpieces.  Nothing  was  more  remote  to 
him  than  logic  or  fidelity  to  nature,  in  the  every  day 
sense.  And  it  is  for  this  reason  that  he  has  over- 
drawn and  distorted,  and  his  figures  are  attenuated 
and  conventionalized.  There  can  be  no  doubt  that  he 
did  this  intentionally,  for  when  he  dealt  with  the  tan- 
gible forms  of  this  world,  he  demonstrated  his  keen 
power  of  observation.  His  portraits  are  masterpieces 
of  psychological  interpretation,  but  when  he  entered 
the  realm  of  the  supernatural  or  mysterious,  his  lines 
become  strongly  agitated  and  his  colors  gloriously 
resplendent.  In  his  best  moments,  Greco  has  created 
works  which  shine  forth  as  giant  flames  reaching 
heavenward. 

If  the  art  of  El  Greco  exhales  the  breath  of  the 
transcendental,  that  of  Francisco  Goya  y Lucientes 
pulsates  with  the  warm  blood  of  reality.  He  was  a 
broad-shouldered  uneducated  rustic  in  whom  the 
divine  spark  glowed.  A man  who  relished  bull-fights, 
a man  who  reveled  in  noisy  drinking  bouts  and  dan- 
gerous dagger  episodes, — such  a man  can  neither  be 
a visionary  nor  a dreamer.  In  Goya,  Spain  possesses 
its  greatest  painter  of  national  manners,  and  as  a por- 
traitist, he  need  not  shun  comparison  with  Velasquez. 
Truly,  several  of  his  portraits  rank  among  the  highest 
in  all  painting. 

The  environment  which  influenced  the  art  of  Goya 
was  vastly  different  from  the  intellectual  atmosphere 
in  which  Greco  lived.  The  Spain  of  Philip  II.  was 
the  greatest  kingdom  in  Europe,  comprising  not  only 
Spain  proper,  but  also  the  Netherlands  and  a portion 

4 


of  Italy,  as  well  as  large  African,  American  and  East 
Indian  possessions,  all  of  which  were  gripped  in  the 
iron  hand  of  a king  who  was  more  Catholic  than  the 
Pope.  Religious  ecstacy  and  inquisition  were  the 
focal  points  of  Greco’s  Spain,  but  the  era  which  re- 
flects itself  in  Goya,  was  one  of  scepticism  and  grand 
revolutionary  ideas.  “Vive  le  joli ! Vive  la  joie!” 
this  motto,  voiced  in  France,  was  re-echoed  in  the  de- 
clining and  decadent  Spain  of  Charles  IV.  True,  the 
Inquisition  still  existed,  but  only  in  a restricted  sense, 
and  with  an  inclination  towards  cynicism  and  frivol- 
ity. It  was  a time  when  standards  were  being  read- 
justed. Only  thus  is  it  possible  to  understand  why 
Goya,  the  scathing  satirist  and  the  revolutionary  man 
of  the  people,  was  persona  gratissima  at  Court. 
Spain’s  ruling  clique  well  knew  that  it  was  living  over 
a powder-barrel,  but  it  was  desirous  of  thoroughly  en- 
joying itself  before  the  fateful  hour  should  strike. 
For  this  blase  set,  it  was  an  interesting  spectacle,  this 
unbridled  force  of  a Goya,  which  brought  with  it  so 
many  adventures,  and  created  nearly  fifteen  hundred 
paintings,  drawings,  etchings  and  lithographs.  It  was 
a spectacle  which  encompassed  all  phases  of  human 
life.  Neither  before  nor  after  Goya,  has  Spain 
brought  forth  an  artist  who  so  thoroughly  reproduced 
the  world  in  which  he  lived,  at  work  or  at  play,  at  the 
bull  fight  or  at  the  Inquisition,  in  church  or  in  a street 
riot,  in  happiness  or  in  sorrow. 

The  masters  of  Greco  are  to  be  sought  in  the 
Venetians  of  the  sixteenth  century  and  the  dogmatists 
of  old  Christianity, — but  those  of  Goya  are  Rem- 
brandt, Velasquez,  and  nature. 

.Nj;. 


5 


CATALO  GUE 


EL  GRECO. 

(1548?— 1614) 

I ViNCENTIO  AnASTAGI. 

Full  figure,  standing  in  a room ; nearly  full  face, 
looking  at  the  spectator.  Black  hair  and  beard.  Both 
hands  rest  on  his  hips.  The  upper  part  of  his  body  is 
encased  in  armour  with  white  Maltese  cross  on  the 
front.  Full  green  kneebreeches  faintly  embroidered 
with  gold.  White  stockings,  low-cut  yellow  shoes 
with  brown  laces.  White  neck  and  wrist  ruffles.  His 
sword,  with  its  gilded  hilt,  hangs  from  a green  strap 
slung  over  his  right  shoulder.  At  his  right,  on  the 
brown  floor,  lies  his  tall  metal  helmet  from  which,  as 
well  as  from  his  armour,  light  is  reflected.  A greyish- 
brown  wall  and  dark  brown  curtain  form  the  back- 
ground. At  the  upper  left,  part  of  a window  is  visible. 
At  the  left  stands  a short  white  column  with  inscrip- 
tion. 

Signed  in  full  in  Greek. 

Canvas.  49  W.  x 73  H. 

The  inscription  on  the  painting  tells  us  in  Italian  the 
following  about  Vincentio  Anastagi,  who  was  one 
of  the  stout  Knights  of  St.  John  who  kept  the  out- 
post of  Christendom  against  the  Turk  with  the  Grand 
Master  Giovanni  di  Valetta: 

"“'^Friar  Vincentio  Anastagi  was  Governor  of  Citta 
"‘Vecchia  of  Malta,  and  when  the  island  was 
6 


“attacked  he  commanded  one  of  the  two  com- 
“panics  of  horse  (squadrons)  which  were  inside 
“and  one  company  of  infantry,  he  commanded 
“several  times  also  other  companies  of  infantry, 
“He  was  Sergeant-Major  of  the  Marca  and  was 
“honoured  several  times  by  the  Grand-Com- 
“mander  of  the  three  Commanderies ; he  died  as 
“Captain  of  the  Admiral-Ship  of  the  Galleies  in 
“Malta  in  1586,  55  years  of  age.” 

Mentioned  in  Sir  Edmund  Head’s  “Handbook  of  the 
History  of  the  Spanish  and  French  Schools  of 
Painting,”  London,  1848,  page  83. 

Mentioned  in  Dr.  Waagen’s  “Treasures  of  Art  ia 
Great  Britain,”  London,  1854,  Vol.  II,  page  420. 

Mentioned  in  Sir  Stirling-Maxwell’s  “Annals  of  the 
Artists  of  Spain,”  London,  1891,  Vol.  I,  pages  337, 

338- 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
pages  394,  395. 

Mentioned  in  Calvert’s  “El  Greco,”  London  and  New 
York,  1909,  page  135. 

Collection  W.  Conyngham. 

Collection  Lord  Taunton. 


/ 


EL  GRECO. 

(1548?— 1614) 

2 Cardinal  Don  Fernando  Nino  de  Guevara. 

Full  length,  seated  in  an  arm-chair  covered  with  red 
velvet;  turned  half-way  to  the  left,  looking  at  specta- 
tor. Each  arm  rests  on  an  arm  of  the  chair.  He 
wears  Cardinal’s  robes,  but  carmine  in  color.  He  has 
a greyish  beard,  wears  spectacles  and  has  on  his  head 
a biretta.  In  the  background  on  the  left  a closed  door, 
on  the  right  gold-leather ; tiled  floor. 

Painted  in  1596  or  1597. 

Signed  in  full  in  Greek  on  a piece  of  paper  on  the 
floor. 

Canvas.  42  W.  x 67  H. 

He  was  Archbishop  of  Seville,  Grand  Inquisitor  and 
Member  of  the  Royal  Council.  He  died  in  1609, 
aged  68  years,  and  was  interred  in  the  Church  of 
the  Convent  of  Saint  Paul  in  Toledo. 

Exhibited  at  the  Greco-Exhibition,  Madrid,  1902, 
No.  13. 

Reproduced  in  '‘Les  Arts,”  1906,  No.  58,  page  21. 
Reproduced  as  a frontispiece  in  Cossio’s  “El  Greco,” 
Madrid,  1908. 

Reproduced  in  “Masters  in  Art,”  1908,  page  271. 
Reproduced  in  Calvert  and  Hartley’s  “El  Greco,” 
London  and  New  York,  1909,  plate  55. 

Reproduced  in  August  L.  Mayer’s  “El  Greco,” 
Munich,  1911,  page  42. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
page  595,  No.  283. 

8 


Catalogued  in  August  L.  Mayer’s  “El  Greco,” 
Munich,  1911,  page  81. 

Mentioned  in  “Les  Arts,”  1906,  No.  58,  page  27. 
Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
pages  420-424. 

Mentioned  in  “Masters  in  Art,”  1908,  page  295. 
Mentioned  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don, 1909,  page  144. 

Collection  of  the  Countess  Onate,  Madrid. 

Collection  of  Count  Paredes  de  Nava,  Madrid. 

EL  GRECO. 

(1548?— 1614) 

3 A View  of  Toledo. 

Hilly  green  landscape ; in  the  middle  distance  the 
valley  of  the  Tagus  spanned  by  the  Alcantara  bridge, 
originally  built  by  the  Moors.  High  on  the  right  the 
town  of  Toledo  with  the  Cathedral  spire.  To  the  left 
of  centre  is  a fortress.  Dark  cloudy  sky,  illuminated 
by  the  yellowish  white  light,  which  also  illuminates 
the  buildings. 

Canvas.  4254  W.  x 47^  H. 

This  is  the  only  landscape  Greco  ever  painted,  al- 
though he  used  a distant  view  of  Toledo  in  one  or 
two  of  his  other  compositions. 

Reproduced  in  “Les  Arts,”  1906,  No.  58,  page  19. 
Reproduced  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
plate  137. 

Reproduced  in  Calvert  and  Hartley’s  “El  Greco,” 
London  and  New  York,  1909,  plate  60. 

9 


Reproduced  in  August  L.  Mayer’s  “El  Greco,” 
Munich,  1911,  page  75. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
page  565,  No.  83. 

Catalogued  in  August  L.  Mayer’s  “El  Greco,” 
Munich,  1911,  page  81. 

Mentioned  in  “Les  Arts,”  1906,  No.  58,  page  26. 
Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
pages  452,  455. 

Mentioned  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don, 1909,  page  156. 

Collection  of  the  Countesses  de  Anover  y Castaneda, 
Madrid. 

EL  GRECO. 

(1548?— 1614) 

4 The  Legend  of  St.  Martin. 

The  Saint,  bareheaded,  is  mounted  on  a white  horse 
with  black  trappings.  He  is  attired  in  black  armour 
with  gold  ornaments,  and  wears  white  ruffles  around 
neck  and  wrists.  He  is  in  the  act  of  dividing  his 
green  cloak  with  his  sword  to  share  it  with  the  beg- 
gar who  stands  naked  upon  his  right.  The  beggar  has 
dark  hair,  and  around  the  calf  of  his  right  leg  there 
is  bound  a white  bandage.  Blue  sky  with  fleecy  white 
clouds.  Mountainous  landscape  with  buildings  and 
trees  as  background,  probably  the  silhouette  of  Toledo. 

Signed  in  full  in  Greek. 

Canvas.  24 W.  x 43J4  H. 

Collection  Marquis  Perinat. 


10 


EL  GRECO. 

(1548?— 1614) 

5 Christ  Driving  the  Money  Changers 
FROM  THE  Temple. 

The  Saviour,  with  raised  right  arm  and  attired  in 
crimson  robe  and  green  mantle,  stands  in  the  centre 
of  the  picture.  To  the  left,  the  traders  in  the  Temple 
carrying  away  their  goods,  on  the  right  other  figures, 
probably  the  disciples,  in  yellow,  red,  light-blue,  and 
green  robes.  In  the  right  foreground  a kneeling  man 
looks  up  at  the  Christ.  In  the  right  background  a 
woman  carrying  a basket  on  her  head.  Through  an 
arch  in  the  centre  is  seen  a street  with  white  buildings, 
blue  sky  and  white  clouds. 

Painted  between  1577  and  1579. 

Canvas.  20  W.  x 16  H. 

Exhibited  at  the  Guildhall  (London)  “Spanish  Exhi- 
bition,” 1901,  No.  75. 

Exhibited  at  the  Greco-Exhibition,  Madrid,  1902, 

No.  5. 

Reproduced  in  “Les  Arts,”  1906,  No.  58,  page  3. 
Reproduced  in  Calvert’s  “Toledo,”  London  and  New 
York,  1907,  plate  510. 

Reproduced  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
No.  8. 

Reproduced  in  Calvert  and  Hartley’s  “El  Greco,” 
London  and  New  York,  1909,  plate  21. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid.  1908, 
page  565,  No.  87. 


II 


Catalogued  in  August  L.  Mayer’s  “El  Greco,” 
Munich,  1911,  page  81. 

Mentioned  in  Calvert’s  “Toledo,”  London  and  New 
York,  1907,  footnote  to  page  162. 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
pages  84,  123,  124,  163,  173,  396,  540. 

Mentioned  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don and  New  York,  1909,  pages  38,  41,  49-51,  54, 
56,  78,  81,  82,  84,  159. 

Collection  A.  de  Beruete,  Madrid. 


EL  GRECO. 

(1548?— 1614) 

6 St.  Peter. 

Half  figure ; nearly  full  face,  eyes  turned  slightly  to 
the  right.  Dark  hair  sprayed  with  white,  greyish- 
white  beard.  Attired  in  blue  robe  and  yellow  mantle. 
Holds  in  his  right  hand  two  keys.  Dark  background. 

Signed  in  full  in  Greek. 

Canvas.  21%  W.  x 28  H. 

Collection  Esperanza,  Madrid. 

12 


EL  GRECO. 

(1548?— 1614) 

7 Christ  on  the  Mount  of  Olives. 

In  the  foreground  are  three  disciples  asleep,  cov- 
ered with  cloaks  of  blue,  red,  green,  and  brown.  In 
the  middle  distance  Christ  is  seen  kneeling,  attired  in 
a crimson  robe,  his  blue  mantle  on  the  ground.  He 
faces  a yellow  robed  angel  on  a cloud  who  gives  him 
the  cup  of  bitterness.  In  the  right  background  the 
guards,  guided  by  Judas,  are  advancing.  Behind 
them  the  silhouette  of  Jerusalem.  Partly  hidden  moon 
in  dark  sky. 

Signed  in  full  in  Greek. 

Canvas.  i8j4  W.  x 29^^  H. 

Collection  Dr.  Gomez,  Madrid. 

EL  GRECO. 

(1548?— 1614) 

8 St.  Catherine. 

Three-quarter  figure ; three-quarter  face,  eyes  low- 
ered to  the  right.  Blond  hair.  Wears  blue  and  crim- 
son robes,  and  a martyr’s  crown.  In  her  left  hand, 
which  embraces  a part  of  the  so-called  “Catherine- 
wheel,”  she  holds  a branch  of  palm.  Her  right  hand 
leans  on  the  hilt  of  a long  black  sword.  Blue  sky, 
partly  overcast  with  white  and  grey  clouds  forms 
the  background. 

Signed  in  full  in  Greek. 

Canvas.  19  W.  x H. 

P3 


Exhibited  at  the  “Second  National  Loan  Exhibition,” 
London,  Grosvenor  Gallery,  1913-14,  No.  34. 

Collection  Jose  M.  Mivez  del  Prado. 

EL  GRECO. 

(1548?— 1614) 

9 Apparition  of  the  Virgin. 

In  the  foreground  to  the  right  of  an  interior  with  tile 
floor,  the  Saint  Dominio,  attired  in  white  and  black 
robes,  is  kneeling  before  an  altar,  facing  to  the  left. 
To  him  appears  on  the  left  the  Virgin  in  clouds,  hold- 
ing the  Infant  in  her  arms.  She  wears  a red  robe  and 
blue  shawl.  In  the  background  on  the  right  a column 
and  a statue  of  a Saint. 

Canvas.  24  W.  x 39J4  H. 

Collection  Henri  Rouart,  Paris. 

EL  GRECO. 

(1548?— 1614) 

10  St.  Paul. 

Almost  half  length.  Three-quarter  face  turned 
towards  left.  P)lack  hair  and  beard,  slightly  sprayed 
with  white.  Right  hand  rests  on  the  black  handle  of 
a broadsword.  Green  robe  and  crimson  mantle. 
Holds  in  his  left  hand  a piece  of  paper,  folded,  on 
v/hich  Greek  characters  are  discernible.  Neutral 
background. 


14 


Signed  with  initials. 

Canvas.  22  W.  x 27^  H. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
page  S93>  No.  274. 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
pages  16  and  368. 

Collection  Don  Jesus  Lacuadra,  Valencia,  Spain. 
Collection  Don  Federico  Vano,  Valencia,  Spain. 

EL  GRECO. 

(1548?— 1614) 

1 1 An  Apostle. 

Half  length,  turned  to  left.  Wears  mantle  in  white, 
yellow,  and  green.  White  hair  and  beard.  Left  hand 
lifted  in  gesture.  Part  of  a cross  on  which  the  Apostle 
leans  intersects  the  picture. 

Signed  in  full  in  Greek. 

Canvas.  22^4  W.  x 29J4  H. 

Collection  J.  H.  Dunn,  Esq.,  London. 

GOYA. 

(1746 — 1828) 

12  The  Forge. 

Interior  of  a blacksmith's  shop.  Full  length  figures 
of  three  men  standing  around  an  anvil.  A stalwart 
young  man  with  black  curly  hair  holds  the  red  hot 
iron  with  the  tongs,  a grey-haired  man  with  stubbly 
beard  appears  to  be  holding  a cutting-off  tool,  while 


15 


the  third  man,  with  his  back  turned  to  the  spectator, 
is  vigorously  wielding  his  sledge.  At  right  in  the 
background  one  can  see  the  faintly  glowing  fire  of  the 
forge.  The  general  tone  is  a harmonious  blending  of 
grey,  yellow,  black  and  white. 

Canvas.  49H  W.  x 71^  H. 

Collection  of  King  Louis  Philippe. 

Collection  Lord  Taunton. 

Collection  Quantock  Lodge. 

GOYA. 

(1746 — 1828) 

13  The  Women  on  the  Balcony. 

On  a balcony  behind  an  iron  rail  are  seated  two 
women ; the  one  on  the  left  wears  a low-neck  white 
dress  and  on  her  head  a black  mantilla.  The  other  is 
dressed  in  black  and  wears  a white  mantilla ; behind 
her  stands  a man  wearing  a hat  and  a brown  cloak, 
with  which  he  covers  his  chin.  Behind  the  woman  on 
the  left  is  seen  another  man  in  black  dress  and  hat. 
Greyish  brown  background. 

Canvas.  48  W.  x 74  H. 

Etched  by  L.  Flameng  in  Lafond’s  ‘‘Goya,”  Paris,  op- 
posite page  4. 

Exhibited  at  the  Goya-Exhibition,  Madrid,  1900,  No. 
112. 

Reproduced  in  Brieger-Wasservogel’s  “Erancisco  de 
Goya,”  Berlin,  page  68. 

Reproduced  in  Calvert's  “Goya,”  London,  1908,  plate 
182. 


6 


Catalogued  in  Lafond’s  “Goya,”  Paris,  page  io8.  No. 

43- 

Catalogued  in  Calvert’s  “Goya,”  London,  1908,  page 
150,  No.  5. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  350,  No.  498. 

Collection  Don  Sebastian  de  Bourbon  y Braganza. 
Collection  Duke  of  Marchena,  Madrid. 

GOYA. 

(1746 — 1828) 

14  Dona  Narcisa  Baranona  de  Goicoechea. 

(The  little  Lady) 

Three-quarter  figure,  seated  to  the  left  on  a chair 
with  yellow  back ; head  turned  half-way  to  the  left ; 
looking  at  the  spectator.  Her  crossed  hands  rest  on 
lap ; in  her  right  she  holds  a closed  fan.  She  has 
on  the  little  finger  of  the  left  hand  a ring  with  blue 
stone,  on  which  is  the  artist’s  signature.  Wears  a 
black  dress  with  white  sleeves  and  white  material  at 
the  opening,  where  a red  rose  is  pinned.  On  her  dark 
brown  hair  is  a black  mantilla,  ornamented  in  the 
front  with  blue  and  black  ribbons.  Light  greyish- 
green  background. 

Painted  about  1810. 

Signed  on  the  ring  of  the  left  hand : Goya. 

Canvas.  29^  W.  x 43^^  H. 

Reproduced  in  “Connoisseur,”  1902,  page  30. 
Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 
124. 


17 


Reproduced  in  ‘‘Goya  y Lucientes.  Cinquante  planches 
d’apres  ses  oeuvres  les  plus  celebres,”  Paris,  1910. 
Catalogued  in  Loga’s  “Goya,”  Berlin,  1903,  page  196, 
No.  227. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  337,  No.  236. 

Mentioned  in  Loga’s  “Goya,”  Berlin,  1903,  page  118. 
Collection  Don  Felipe  Modet,  Madrid. 

GOYA. 

(1746 — 1828) 

15  Senora  Dona  Maria  Martinez  da  Puga. 

Half-length,  standing  to  left,  three-quarter  face, 
dark  eyes  turned  slightly  to  the  left.  Black  dress  with 
low-cut  round  neck,  finished  with  frilled  lace,  which 
also  edges  her  sleeves.  A gold  embroidered  ribbon  is 
entwined  in  her  carefully  arranged  dark-brown 
coiffure.  White  gloved  hands  crossed  in  front  hold- 
ing a small  fan  and  a filmy  white  kerchief.  A gold 
chain  encircles  her  neck,  and  falling  loosely  in  front 
secures  a gold  and  enamel  watch  pinned  to  her  dress. 
Gold  earrings.  Lower  part  of  background  dark, 
upper  part  lighter. 

Signed,  and  dated  1824. 

Canvas.  23  W.  x 3ijd  H. 

The  sitter  was  Goya’s  landlady  at  Bordeaux,  France. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plafes 
147  and  149. 

Collection  A.  de  Beruete,  Madrid. 

18 


Collection  Sir  Hugh  Lane,  London. 

Collection  J.  H.  Dunn,  Esq.,  London. 

GOYA. 

(1746 — 1828) 

16  Don  Manuel  Romero>  Minister  du 
Joseph  Buonaparte. 

Half  figure,  standing;  three-quarter  face,  ey^ 
turned  slightly  to  the  left.  Brown  hair.  Right  hand 
stuck  in  the  opening  of  his  coat,  which  is  unbuttoned. 
Attired  in  black  uniform,  lined  with  vermilion  and 
richly  embroidered  with  gold.  His  vermilion  waist-- 
coat,  too,  is  embroidered  with  gold.  White  stocky, 
fichu,  and  ruffles.  A vermilion  sash  crosses  his  chest. 
He  wears  the  cross  of  the  Legion  of  Honour.  Dark 
background. 

Canvas.  33  W.  x qij^  H. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  136,  Nft. 
198. 

Catalogued  in  Loga’s  “Francisco  de  Goya,”  Beriinj. 
1903,  page  203,  No.  319. 

Catalogued  in  Calvert’s  “Goya,”  London,  1908,  page 
140,  No.  223. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  337,  No.  167. 


GOYA. 

(1746 — 1828) 

17  Don  Bernardo  Yriarte. 

Half  figure,  seated  to  left ; three-quarter  face,  look- 
ing at  spectator.  Wears  greyish-purple  coat,  figured 
waistcoat,  white  stock,  fichu  and  ruffles.  Powdered 
wig.  Order  on  blue  and  white  ribbon.  Left  hand 
rests  on  his  hip,  right  hand  holds  a book  in  red  bind- 
ing. Back  of  the  chair  is  visible.  Dark  background. 

Signed  and  dated  1797. 

Cmvas.  33^4  W.  X 42^4  H. 

He  was  Vice  President  of  the  Royal  Academy  of  Fine 
Arts  in  Madrid,  and  his  portrait  was  painted  by 
Goya  as  a token  of  regard  and  esteem ; this  fact  is 
mentioned  in  the  inscription  under  the  portrait. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  140,  No. 
233- 

Catalogued  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  page  142,  No.  254. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 

1914,  page  335,  No.  i88. 

Previously  owned  by  the  family. 

Purchased  in  Spain. 


20 


GOYA. 

(1746 — 1828) 

Pepito  Costa  y Bonello. 


18 


Portrait  of  a boy  in  dark  green  jacket  and  cap,  the 
latter  being  ornamented  with  two  plumes,  one  blue, 
one  scarlet,  and  against  this  last  the  pale  blue  and 
white  of  the  drum  tells  with  charming  coolness.  On 
the  other  side,  the  gold  lace  on  the  jacket  is  repeated 
in  the  trappings  of  the  toy  horse,  and  in  the  yellow 
shoes ; while  the  dull  crimson  of  the  saddle  finds  an 
echo  in  the  warm  tone  of  the  ground,  and  a contrast 
in  the  cool  grey  of  the  wall  behind. 

The  portrait  is  signed,  dated  and  inscribed  as  fol- 
lows : 

“Pepito  Costa  y Bonello  por  Goya,  1804.” 
Canvas.  33^4  W.  41^  H. 

Reproduced  in  “The  Burlington  Magazine,”  1906,  No. 
43,  opposite  page  54. 

Reproduced  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  plate  161. 

Mentioned  in  “The  Burlington  Magazine,”  1906,  No. 

43,  page  54. 

Collection  of  the  Countess  Uda  de  Gandomar,  Madrid. 


21 


GOYA. 

(1746 — 1828) 

19  , The  Duke  of  Alba. 

Half  figure,  seated;  three-quarter  face,  looking  at 
the  spectator.  Right  hand  rests  on  arm  of  gilded 
chair,  left  hand  in  his  waistcoat.  Attired  in  black 
coat,  white  and  green  striped  waistcoat,  and  white 
stock.  Short  powdered  wig.  Wears  the  Order  of  the 
Golden  Fleece  on  a red  ribbon.  Greenish-grey  back- 
ground. 

Canvas.  27^4  W.  x 34^  H. 

The  thirteenth  Duke  of  Berwick  and  Alba,  Marquis 
of  Villafranca,  was  a descendant  of  the  famous 
Marechal  de  Berwick : James  Fitz-James,  Duke  of 
Berwick,  Peer  of  France,  England  and  Spain,  who 
received  his  title  as  a Duke  of  Liria  and  Xerica 
from  Philip  V. 

Engraved  by  Salvador  Carmona : ‘‘El  excmo  Senor 
Dn  Joseph  Alvarez  de  Toledo,  Duque  de  Alva, 
Marquez  de  Villafranca,  Duque  de  Eerdinandina, 
y de  Medinasidonia.” 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  123,  No. 
61. 

Catalogued  in  Loga’s  “Erancisco  de  Goya,”  Berlin, 
1903,  page  191,  No.  162. 

Catalogued  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  page  129,  No.  68. 

Catalogued  in  Stokes’  “Erancisco  Goya,”  New  York, 
1914,  page  328,  No.  57. 


22 


Collection  of  the  Duke  of  Mediiia-Sidonia,  Count 
Niebla  and  Marquis  of  Villafranca,  Madrid. 
Collection  Jacques  Doucet,  Paris. 

GOYA. 

(1746 — 1828) 

20  Count  de  Teba. 

Bust,  three-quarter  face,  looking  at  the  spectator. 
Black  curly  hair;  thin,  dark  mustache.  Wears  dark- 
green  uniform  embroidered  with  silver.  High  black 
collar.  Dark  background. 

Painted  about  1810. 

Canvas.  19%  W.  x 23  H. 

Don  Cipriano  Guzman  Palafox  y Porto  Carrero,  Mar- 
quis of  Ardales,  Grandee  of  Spain,  El  Conde  de 
Teba,  according  to  known  facts  must  have  been 
born  about  1785.  He  was  the  second  son  of  Count 
de  Montijo.  In  1810,  impassioned  by  the  victor  of 
Austerlitz,  he  offered  his  sword  to  Napoleon  I and 
was  wounded  at  the  battles  of  Salamanca  and 
Buttes-Chaumont.  In  1816  he  married  Maria  Man- 
uela  de  Kirkpatrick  y Grivegnee,  whose  genealogy 
is  clearly  established  in  the  notes  left  by  her  cousin, 
Ferdinand  Lesseps,  the  creator  of  the  Suez  Canal. 
They  lived  until  1828  in  Granada,  Spain.  In  1825, 
Francoise,  their  first  daughter,  was  born  to  them, 
and  1826  the  second  daughter,  Eugenie.  Francoise 
in  1844  became  the  wife  of  the  most  powerful  and. 
richest  nobleman  in  Spain,  the  Duke  of  Alba.  Eu- 
genie, in  1853,  married  in  Paris  Napoleon  HI  and 
thus  became  the  Empress  of  the  French.  Count  de 
Teba  died  in  Madrid  in  1839. 

23 


Exhibited  at  the  ‘‘Exhibition  of  Spanish  Paintings,” 
Heinemann  Gallery,  Munich,  1911. 

Reproduced  in  August  L.  Mayer’s  “Geschichte  der 
Spanischen  Malerei,”  page  273. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 
102. 

Reproduced  in  “Der  Cicerone,”  Leipzig,  1911. 
Catalogued  in  Lafond’s  “Goya,”  Paris,  page  138,  No. 
216. 

Catalogued  in  Loga’s  “Francisco  de  Goya,”  Berlin, 
1903,  page  205,  No.  341. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  335,  No.  178;  and  mentioned  page  251. 

Collection  Don  Jose  Lazaro  Galdeano,  Madrid. 

GOYA. 

(1746 — 1828) 

21  Boy  Riding  on  a Ram. 

(El  nino  del  carnero) 

A blond  haired  boy  riding  on  a black  ram  with  a 
bell  attached  to  a broad  metal  collar.  The  boy  is  at- 
tired in  a reddish-brown  and  bluish-black  striped  suit, 
with  crimson  sash,  broad  white  collar,  and  white 
ruffles.  On  his  white  and  blue  hat,  tied  with  a ribbon 
under  his  chin,  there  is  a crimson  tuft.  He  holds 
himself  on  the  ram  with  his  left  hand,  and  his  right 
holds  aloft  a switch.  Blue  sky  with  big  white  cloud. 
Trees  on  the  left  and  in  the  background. 

Canvas.  44^4  W.  x 50  H. 


24 


This  was  one  of  a series  of  cartoons  painted  by  Goya 
from  which  tapestries  were  woven  for  the  Royal 
Family  in  Spain.  These  tapestries  are  now  in  the 
Royal  Apartments  of  the  Escorial,  near  Madrid. 
The  cartoons  form  a separate  collection  in  the 
Prado  Museum  of  Madrid,  only  a very  few  being  in 
private  hands. 

According  to  Don  Aureliano  de  Beruete,  the  v/ell 
known  critic  and  painter,  the  cartoon  “Boy  riding 
on  a ram”  was  painted  in  Goya’s  best  period  of  this 
cartoon  painting,  being  late. 

Reproduced  in  Lafond’s  “Goya,”  Paris,  page  72. 
Reproduced  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  plate  310. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  148,  No. 
45-  ^ 

Catalogued  in  Loga’s  “Francisco  de  Goya,”  Berlin, 
1903,  page  223,  No.  598. 

Collection  of  Don  Gabino  Stuyck,  Madrid. 

GOYA. 

(1746 — 1828) 

22  Don  Isidro  Gonzalez. 

Three-quarter  figure,  seated  with  his  right  arm  over 
the  back  of  the  brown  chair ; three-quarter  face,  look- 
ing at  the  spectator.  Black  hair.  Left  hand  rests 
on  lap,  in  his  right  he  holds  a black  hat  with  brown 
lining,  and  a scroll  of  paper.  He  wears  a grey  coat 
with  high  black  collar,  light  grey  waistcoat,  and  a 
colored  kerchief  around  his  neck.  White  shirt  front, 
brown  trousers.  Dark  background. 

25 


Signed  and  dated : “Dn.  Isidro  Gonzalez  por  Goya. 
i8oi.” 

Canvas.  26^  W.  x 36^  H. 

Collection  of  Don  Louis  Iniquez,  Alcade  Mayor  de 
Logrono  (Capital  of  La  Rioja,  Spain),  to  whom  the 
painting  was  left  by  the  sitter,  Don  Isidro  Gonzalez, 
his  maternal  grandfather. 

Collection  of  Paul  Lafond,  director  of  the  Museum  at 
Pau,  Basses  Pyrenees,  France. 

GOYA. 

( 1746 — 1828) 

23  Don  Ramon  de  Posada  y Soto. 

Three-quarter  figure,  seated  to  left ; three-quarter 
face,  looking  at  the  spectator.  White  wig.  Grey  coat, 
colored  figured  waistcoat,  dark  kneebreeches.  Left 
arm  folded  in  front  with  hand  beneath  his  coat.  Wears 
an  order  on  blue  and  white  ribbon.  Part  of  the  chair 
is  visible.  Neutral  background. 

Signed  at  the  lower  right. 

Canvas.  35  W.  x 46%  H. 

He  was  the  First  President  of  the  Court  of  Justice  at 
Cadiz,  Spain. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 
III. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  136,  No. 
191. 

Catalogued  in  Calvert’s  “Goya,”  London,  1908,  page 
139,  No.  217a. 


26 


Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  334,  No.  158. 

Collection  Don  Jose  Maria  Perez  Caballero. 

GOYA. 

(1746 — 1828) 

24  General  Nicolas  Guye. 

Seated,  visible  to  his  knees  which  are  crossed. 
Three-quarter  face,  turned  to  the  left.  Chestnut-brown 
curly  hair  and  sidewhiskers.  Wears  bluish-black  gen- 
eral’s uniform  heavily  embroidered  with  gold,  high 
gold  collar.  White  silk  kneebreeches  and  white  silk 
stockings.  Decorations  hanging  from  blue  and  red 
ribbons  around  his  neck  and  pinned  to  his  uniform. 
In  his  hands  he  holds  a black  and  white  two-cornered 
hat.  The  golden  hilt  of  his  sword  is  visible.  Back- 
ground in  warm  tinted  brown. 

Painted  probably  in  1810,  when  the  sitter  was  37 
years  of  age. 

Canvas.  33^  W.  x 41^4  H. 

Senor  Don  Nicolas  Guye,  Marquis  of  Rio-]\Iilanos, 
born  ^lay  i,  1773  at  Lons-le-Saunier  (Jura),  was 
General  Aide  de  Camp  of  S.  M.  Catholique  Joseph 
Bonaparte,  King  of  Spain;  Member  of  the  Legion 
of  Honour  of  the  French  Empire,  Commander  of 
the  Royal  Order  of  Spain,  Commander  of  the  Order 
of  the  Two  Sicilies. 

The  picture  was  given  to  Vincent  Guye,  his  brother, 
at  ^Madrid,  October  i,  1810. 

Reproduced  in  “Les  Arts,”  1913,  No.  136. 

27 


Catalogued  in  Stokes’  ‘‘Francisco  Goya,”  New  York, 
1914,  page  332,  No.  121. 

Mentioned  in  “Les  Arts,”  1913,  No.  136. 


GOYA. 

(1746 — 1828) 

25  Victor  Guye,  Nephew  of  General 
Nicolas  Guye. 

Full  figure,  standing;  almost  full  face,  looking  at 
the  spectator.  Gold  blond  hair.  Dressed  in  a bluish- 
black  suit  richly  embroidered  with  gold.  White  fan- 
shaped collar.  In  his  hand  he  holds  an  open  book. 
White  stockings,  black  low-cut  pumps.  Background 
in  warm  tinted  brown. 

Canvas.  33^8  W.  x 41^  H. 

He  was  Page  to  Joseph  Bonaparte,  King  of  Spain. 

Reproduced  in  “Les  Arts,”  1913,  No.  136. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  341,  No.  317. 

Mentioned  in  “Les  Arts,”  1913,  No.  136. 

Mentioned  in  Stokes’  “Francisco  Goya,”  New  York. 
1914,  page  253. 


28 


GOYA. 

(1746 — 1828) 


26  Senora  Dona  Basilia  de  Solera 

DE  Ping-Sampfer. 

Three-quarter  figure,  standing  to  left ; three-quar- 
ter face,  looking  at  the  spectator.  Green  bodice  and 
overskirt,  white  sash.  A small  fan  in  her  right  hand, 
which  she  is  resting  on  the  palm  of  her  left  hand ; 
large  pearl  drop  earrings,  artificial  flowers  in  her  grey 
hair.  Dull-green  background. 

Painted  about  1802. 

Signed  and  inscribed  on  the  back. 

Canvas.  33^  W.  x 43M  H. 

Exhibited  at  the  ‘'Second  National  Loan  Exhibition,” 
London,  Grosvenor  Gallery,  1913-14,  No.  96. 
Mentioned  by  Sir  Claude  Phillips  in  the  “Daily  Tele- 
graph” of  Dec.  6,  1913. 

Collection  M.  de  la  Marquise  de  Aguiar,  Madrid. 

GOYA. 

(1746 — 1828) 

27  The  Marouesa  de  Bajamar. 

Three-quarter  figure,  seated  to  right ; nearly  full 
face,  looking  at  the  spectator.  Her  brown  hair  is 
dressed  high  with  curls  falling  on  her  neck.  White 
low-cut  dress,  elbow  sleeves  with  lace  ruffles.  A filmy 
white  scarf  around  her  neck  is  softly  knotted  in  front. 
Hands  holding  a small  fan  rest  in  her  lap.  She  wears 

29 


the  order  of  Maria-Luisa,  a purple  and  white  sash. 

Part  of  the  chair  is  visible.  Greenish-blue  background. 

Canvas.  32  W.  x 40^4  H. 

Her  maiden  name  was  Dona  Geronina  Daioza.  She 
came  from  Navarre  and  married,  as  his  second 
wife,  the  Marquis  of  Bajamar,  Minister  of  Charles 
IV.  of  Spain,  with  whom  she  lived  two  and  a half 
years,  dying  without  issue. 

Exhibited  at  the  ‘‘Second  National  Loan  Exhibition,’^ 
London,  Grosvenor  Gallery,  1913-14,  No.  94. 

Reproduced  in  a pamphlet  containing  all  women 
painted  by  Goya ; published  under  the  supervision 
of  Sr.  Villegas,  Curator  of  the  Museum  del  Prado, 
Madrid. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  337,  No.  222. 

The  portrait  comes  from  a member  of  the  family  of 
the  Marquis  of  Bajamar.  It  has,  until  just  lately, 
remained  at  the  Marquis’  country  place  in  Navarre, 
Spain. 


GOYA. 

(1746 — 1828) 

28  Don  Joseph  Camaron  y Melia. 

Half  length,  seated  ; full  face,  looking  at  the  specta- 
tor. Curled  grey  hair.  Wears  dark  blue  coat,  vari- 
colored waistcoat,  white  fichu.  Order  on  red  and  white 
ribbon.  His  left  hand,  of  which  only  the  wrist  is  visi- 
ble, rests  on  bis  thigh.  In  his  right  hand  he  holds  a 


30 


white  crayon  encased  in  a metal  holder,  and  a port- 
folio from  which  protrude  several  drawings.  A part 
of  the  gilded  chair  on  which  he  is  seated  is  visible. 
Neutral  background. 

The  painting  bears  the  inscription : ‘‘D  Jph  Cam- 
aron  y Melia  en  la  hedad  de  38  A.”  (D.  Jph  Cam- 
aron  y Alelia  at  the  age  of  38  years.) 

Canvas.  26^  W.  x 35^  H. 

He  was  an  etcher  and  Director  of  the  Academia  de 
San  Carlos  in  Valencia,  Spain. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 
71-  . , \ 

Catalogued  in  Loga’s  “Francisco  de  Goya,”  Berlin,, 
1903,  page  193,  No._  186. 

Catalogued  in  Calvert's  “Goya,”  London,  1908,  page 
133.  No.  93. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  329,  No.  69. 

Collection  Don  Felipe  Calvo,  Madrid. 

GOYA. 

(1746 — 1828) 

29  Admiral  Mazarredo. 

Half  length,  seated ; full  face,  looking  at  the  spec- 
tator. Short  white  wig.  Attired  in  black  coat  em- 
broidered with  gold.  He  wears  a military  order  (San- 
tiago) and  has  the  cross  of  this  order  on  his  coat. 
His  left  arm  rests  on  brown  table  on  which  there  are 
four  books  in  red  binding.  In  his  left  hand  he  holds 
a watch  on  a green  cord  with  key  attached.  The  back- 

31 


ground  is  formed  by  a green  curtain  partly  drawn  to 
the  left,  revealing,  far  distant,  ship  on  blue  water. 

Signed  in  the  lower  right:  “Goya  lo  hizo”  (Goya 
did  this). 

Canvas.  33  W.  x 44%  H. 

Exhibited  at  the  Goya-Exhibition,  Madrid,  1900,  No. 

46. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 

74. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  page  132,  No. 
162. 

Catalogued  in  Loga’s  “Francisco  de  Goya,”  Berlin, 
1903,  page  199,  No.  273. 

Catalogued  in  Calvert’s  “Goya,”  London,  1908,  page 
138,  No.  196. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  332,  No.  132. 

Mentioned  in  Loga’s  “Francisco  de  Goya,”  Berlin, 
1903,  page  45. 

Mentioned  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  page  251. 

Collection  Boadilla  del  Monte. 

Collection  Sueca. 

Collection  Don  Mariano  Hernando. 

Collection  Don  Luis  de  Navas,  Madrid. 

Collection  Count  de  Casal,  Madrid. 


32 


GOYA. 

(1746 — 1828) 

30  Marques  de  Castro  Terreno. 

Full  figure,  standing  in  a room ; almost  full  face, 
eyes  turned  slightly  to  the  right.  Wears  brownish- 
black  cutaway  tail-coat,  yellow  waistcoat,  black  knee- 
breeches,  and  riding  boots.  High  white  stock  and 
white  fichu.  His  right  hand  holds  a pair  of  yellow 
gloves.  Broad  white  and  blue  scarf  crosses  his  chest. 
A decoration  pinned  on  the  left  side  of  his  coat.  To 
the  left  an  armchair  may  be  seen,  to  the  right  part  of 
a table,  both  heavily  gilded,  partly  of  Louis  XVI  and 
Empire  style.  On  the  table  there  lies  a black  three- 
cornered  hat  and  a dagger  in  gilded  girdle.  Bluish- 
grey  draperie  as  background. 

Canvas.  4SH  W.  x 78^  H. 

Don  Prudencia  de  Guadalfajara,  Duke  of  Castro  Ter- 
reno, born  at  Zamora,  April  28,  1761,  the  twenty- 
ninth  son  of  Don  Melchior  de  Guadalfajara  y 
Eraso,  Count  of  Castro  Terreno.  Being  the  twenty- 
ninth  and  youngest  son,  he  was  destined  for  the 
priesthood,  but,  strange  to  say,  all  his  brothers  died, 
and  he,  becoming  heir  to  the  title  and  estates,  left 
the  priestly  career.  In  the  year  1782  he  was  made 
First  Equerry  to  the  King,  Charles  IV,  and  at  about 
this  time  the  portrait  was  painted  by  Goya.  On 
October  2,  1794,  Charles  IV,  taking  into  considera- 
tion his  studies  and  his  advancement  in  the  priestly 
career,  made  him  Colonel  in  the  Army  without  his 
passing  through  the  inferior  grades  of  an  officer. 
He  was  Grandee  of  Spain,  Knight  of  the  Order  of 

33 


the  Golden  Fleece,  Chief  of  the  Royal  Corps  of 
Halberdiers,  and  in  the  year  1820  was  made  Viceroy 
of  Navarre. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 

69. 

Collection  of  Don  Jose  de  Guadalfajara,  Count  de  la 
Rosa,  Captain  in  the  Regiment  of  Arapiles,  and  the 
great  grandson  of  the  aforesaid  Duke  of  Castro 
Terreno. 

Collection  J.  H.  Dunn,  Esq. 

GOYA. 

( 1746 — 1828) 

31  Marouesa  de  Castro  Terreno. 

Full  figure,  standing  in  a room ; almost  full  face, 
looking  at  the  spectator.  Wears  dark  brown  dress, 
bordered  with  gold ; low-neck  trimmed  with  greyish- 
white  lace.  Belt  with  golden  buckle.  Her  dark  curled 
hair  falls  over  her  shoulders.  Right  hand  holds  a 
small  fan  and  leans  on  a white  and  gold  table,  partly 
of  Louis  XVI  and  Empire  style.  A pink  rose  lies  on 
the  table.  Over  a chair  to  her  right  is  thrown  a green 
coat  lined  with  ermine  and  trimmed  with  reddish- 
brown  fur.  Bluish-grey  draperie  as  background. 

Canvas.  46  W.  x 78  H. 

Reproduced  in  Calvert’s  “Goya,”  London,  1908,  plate 

70. 

Collection  of  Don  Jose  de  Guadalfajara,  Count  de  la 
Rosa,  Captain  in  the  Regiment  of  Arapiles,  and  the 

34 


great  grandson  of  the  Duke  of  Castro  Terreno,  hus- 
band of  the  Marquesa  de  Castro  Terreno. 

Collection  J.  H.  Dunn,  Esq. 

GOYA. 

(1746 — 1828) 

32  The  Toreador  Costillares. 

Bust,  nearly  full  face,  looking  at  the  spectator. 
Black  hair  partly  covered  with  a blue  kerchief.  Wears 
a green  bolero,  richly  embroidered  with  gold,  and  a 
white  scarf.  Black  kerchief  around  his  neck.  A vivid 
touch  of  vermilion,  supposedly  a glimpse  of  his  waist- 
coat, gives  a striking  accent  to  the  whole.  Dark  back- 
ground. 

Painted  at  the  end  of  the  eighteenth  century. 
Canvas.  16  W.  x 20^4  H. 

Costillares,  whose  real  name  was  Joaquin  Rodriguez, 
introduced  a new  style  of  bull-fighting,  for  he  was 
the  first  to  make  the  attempt  to  go  at  the  bull  with 
the  sword  instead  of  waiting  for  the  charge  of  the 
animal. 

Exhibited  at  the  National  Exhibition  of  Portraits,  Ma- 
drid, No.  677. 

Collection  Count  de  Asalto,  Madrid. 

Collection  Enrique  Puncet. 


35 


GOYA. 

(1746 — 1828) 

33  Marques  Lorenzo  Manzaneras. 

Half  figure,  standing  to  left ; left  hand  in  his  waist- 
coat. Three-quarter  face,  eyes  turned  slightly  to  the 
left.  White  wig.  Dark  blue  coat  embroidered  with 
gold,  vermilion  waistcoat  and  cuffs.  White  stock, 
fichu,  and  ruffles.  Order  on  dark  ribbon  pinned  to  left 
side  of  his  coat.  Warm  tinted  background. 

Canvas.  24  W.  x 30^4  H. 

GOYA. 

(1746 — 1828) 

34  Manuel  Godoy,  Called  “Prince  of  Peace.” 

Bust,  nearly  full  face,  eyes  turned  slightly  to  the 
left.  Dark  hair.  Black  uniform  embroidered  with 
gold  and  lined  with  vermilion.  Black  stock  and  white 
shirt  front  against  which  we  have  a glimpse  of  a ver- 
milion, blue,  and  white  sash.  Neutral  background. 

Canvas.  19  W.  x 24^  H. 

Godoy,  whom  Goya  painted  two  or  three  times,  was 
born  in  Spain  in  1767,  became  the  chief  favorite  of 
Charles  IV  and  his  Queen,  and  was  appointed 
Prime  Minister  in  1792.  He  received  the  title 
“Prince  of  Peace”  because  he  made  peace  with 
France  in  1795.  His  influence  over  the  feeble  King, 
and  the  Queen,  was  unbounded,  but  he  became  very 
unpopular.  Ferdinand,  the  heir  of  the  throne,  was 
among  his  enemies.  Godoy’s  administration  was 

36 


very  corrupt.  His  Palace  was  attacked  March,  1808, 
by  a mob,  which  led  to  the  King’s  abdication  and  his 
disgrace.  He  died  in  1851. 


EL  GRECO. 

(1548?— 1614) 

35  St.  Jerome. 

Half  figure,  full  face,  hands  resting  on  an  open 
book  which  is  on  a table  in  front  of  him  covered  with 
a green  velvet  cover.  On  the  margin  of  the  page  ap- 
pears an  inscription  at  which  the  sitter  points  with  his 
right  thumb.  He  wears  a Cardinal’s  red  dress,  which 
buttons  down  the  front.  His  beard  is  long,  thin,  and 
pointed ; his  hair,  growing  low  on  his  forehead,  is  cut 
short. 

Painted  between  1586  and  1594. 

Signed  in  full  in  Greek. 

Canvas.  38M  W.  x 45^  H. 

Reproduced  in  ‘‘Forma,”  Barcelona,  1904,  p.  196. 
Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908,  p. 
595,  No.  286. 

Catalogued  in  August  L.  Mayer’s  “El  Greco,”  Mu- 
nich, 1911,  p.  81. 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908,  pp. 
96,  412,  446. 

Formerly  in  the  Cathedral  of  Valladolid,  Spain. 


37 


EL  GRECO. 

(1548?— 1614) 

36  Madonna  with  St.  Agnes  and  St.  Marina. 

The  Virgin  in  clouds,  holding  the  Infant  on  her  lap. 
Two  angels  right  and  left  of  her.  St.  Agnes  and  St. 
Marina,  one  with  a branch  of  palm  and  the  other  with 
a lamb,  at  her  feet.  Cherubs’  heads  in  the  clouds,  and  a 
lion’s  head  between  the  two  Saints. 

Painted  in  1598  or  1599. 

Signed  with  initials  on  head  of  lion. 

Canvas.  40^  W.  x 76  H. 

Reproduced  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
plates  45,  45a,  45b. 

Reproduced  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don, 1909,  plate  95. 

Reproduced  in  August  L.  Mayer’s  “El  Greco,”  Mu- 
nich, 1911,  p.  45. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908,  p. 
588,  No.  241. 

Catalogued  in  August  L.  Mayer’s  “El  Greco,”  Munich, 
1911,  p.  81. 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908,  pp. 
303,  704-705. 

Mentioned  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don 1909,  pp.  67,  90,  124. 

From  the  Chapel  of  San  Jose,  Toledo. 


38 


EL  GRECO. 

(1548?— 1614) 

37  St.  Martin. 

The  Saint,  bareheaded,  is  mounted  on  a white  horse 
with  black  trappings.  He  is  attired  in  black  armour 
with  gold  ornaments,  and  wears  white  ruffles  around 
neck  and  wrists.  He  is  in  the  act  of  dividing  his  green 
cloak  with  his  sword  to  share  it  with  the  beggar  who 
stands  naked  upon  his  right.  The  beggar  has  dark 
hair,  and  around  the  calf  of  his  right  leg  there  is  bound 
a white  bandage.  Blue  sky  with  fleecy  white  clouds. 
Mountainous  landscape  with  buildings  and  trees  as 
background,  probably  the  silhouette  of  Toledo. 

Painted  in  1598  or  1599. 

Signed  in  full  in  Greek. 

Canvas.  40 W.  x 76  H. 

Reproduced  in  Cossio’s  “El  Greco,”  Madrid,  1908, 
plate  46. 

Reproduced  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don, 1909,  plate  94. 

Catalogued  in  Cossio’s  “El  Greco,”  Madrid,  1908,  p. 
588,  No.  242. 

Catalogued  in  August  L.  Mayer’s  “El  Greco,”  Munich, 
1911,  p.  81. 

Mentioned  in  Cossio’s  “El  Greco,”  Madrid,  1908,  pp. 
304,  704-705. 

Mentioned  in  Calvert  and  Hartley’s  “El  Greco,”  Lon- 
don, 1909,  pp.  68,  122,  123,  124. 

From  the  Chapel  of  San  Jose,  Toledo. 


39 


GOYA. 

(1746 — 1828) 

38  Dona  Maria  Ignacia  Alvarez  de  Toledo, 
Countess  of  Altamira,  and  Daughter. 

Full  figure,  seated  on  a carved  and  gilded  sofa  up- 
holstered in  light-blue.  Nearly  full  face,  eyes  turned 
to  the  left.  Her  dark-brown  hair  is  dressed  high  and 
falls  in  curls  on  her  shoulders.  She  wears  a pink 
robe  with  elbow  sleeves  edged  with  lace  ruffles.  White 
scarf  around  her  shoulders.  She  holds  her  little 
daughter,  who  is  light-haired  and  dressed  in  white,  on 
her  lap  embracing  her  with  the  left  hand.  In  her 
right  she  holds  a flower  which  the  child  also  gently 
grasps.  Greyish  background. 

Dated  1787. 

Canvas.  45I4  W.  x 76^  H. 

Reproduced  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  plate  29. 

Reproduced  in  Brieger-Wasservogel’s  “Francisco  de 
Goya,”  Berlin,  opposite  page  15. 

Catalogued  in  Lafond’s  “Goya,”  Paris,  p.  125,  No.  70. 
Catalogued  in  Calvert’s  “Goya,”  London  and  New 
York,  1908,  p.  13 1,  No.  78. 

Catalogued  in  Stokes’  “Francisco  Goya,”  New  York, 
1914,  p.  337,  No.  221. 

Collection  Marques  de  Cervera. 

Collection  Leopold  Goldschmidt,  Paris. 


40 


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New  York  London 

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